Quotes of All Topics . Occasions . Authors
On Sunday, I think the most important thing for me is to just turn my brain off. The idea of not trying is the key, because that's where you're relaxed enough to let your brain make new connections.
I like the idea of a world, even within a big giant city, where you're not anonymous. You have an identity, and that's an identity that's known just sort of by shopkeepers. I felt that as a kid, and I loved it.
I asked myself what it was that I wanted from writing and where my connection with books began, and the answer to that question was definitely in childhood, because that's where my connection with reading began.
I try to remember what it was like to be a kid in New York. I lived in different parts of my childhood in Manhattan on the Upper West Side, where 'When You Reach Me' is set, and also in the Midwood section of Brooklyn.
I never write with any kind of message, and I don't think that this book, 'Goodbye, Stranger' has a message in the capital M form of the word but I do hope it makes people ask themselves questions about what they think.
Life is a million different dots making one gigantic picture. And maybe the big picture is nice, maybe it's amazing, but if you're standing with your face pressed up against a bunch of black dots, it's really hard to tell.
The truth is that I think that most people, and most people in this book, 'Goodbye, Stranger', are really doing their best but they're stumbling all over the place and they're hurting each other deliberately and by accident.
Didn't you ever have a father yourself? You don't want him for a reason. You want him because he's your father.' So I figured it's because I never had a father that I don't want one now. A person can't miss something she never had.
I grew up mostly an only child. My dad remarried when I was a teenager. And then I had two stepbrothers. And then my dad had a second child. So I have a brother from the time I was 15. But I really grew up feeling like an only child.
From age nine, my friends and I were on the streets, walking home, going to each other's houses, going to the store. I really wanted to write about that: the independence that's a little bit scary but also a really positive thing in a lot of ways.
I felt vulnerable and very much between friends. I remember walking down the hallway and thinking I had no way of knowing what was coming, literally. This wasn't because I had some horrific bullying story, but because of a steady drip of negativity.
Mom. She always says to look at the big picture. How all of the little things don't matter in the long run. . . I know that Mom is right about the big picture. But Dad is right too: Life is really just a bunch of nows, one after the other. The dots matter.
There's this trouble with books for me because I'm terrible at thinking of titles. The truth is, even with the titles that I've landed on in the end, they always feel wrong. I think it's because of this whole problem of having to package your book in a certain way.
I remember in junior high school, which is what we called it, suddenly I was looking at myself, almost through other people's eyes, and thought: how does the world see me? So that was one of the things I was really interested in, when I was writing Goodbye Stranger.
I personally find the ideas that girls need to cover their shoulders in school a little bit strange... when we're telling girls, you know, 'You have to cover your shoulders because otherwise you're a distraction to other people in your class,' probably something is wrong.
I never had a favourite book! I liked all kinds of things - science fiction, so I read Heinlen and Ray Bradbury, and I also liked reading about kids like myself, so I read Judy Blume and Norma Klein and Paula Danzinger and a lot of other writers. I also read James Herriot!
If you took every tear cried by everyone on earth on one single day and put them in a container, how big would that container need to be? Could you fill a water tower? Three water towers? It's one of those unknowable things. There has to be an answer, but we'll never know what it is.
I feel like there are stages in many, many people's childhoods when you don't have one good friend. It can happen a lot in sixth and seventh grade because that's when things are changing so quickly. It's like a desperate dash for some kind of acceptable identity, and it can get ugly.
Sometimes you never feel meaner than the moment you stop being mean. It's like how turning on a light makes you realize how dark the room had gotten. And the way you usually act, the things you would have normally done, are like these ghosts that everyone can see but pretends not to.
I think that's one of the most important things that books do: not to teach you anything, but to help you teach yourself by just being in the world of the book and having your own thoughts and reactions and noticing your own reactions and thoughts and learning about yourself that way.
I feel lucky that I read so many books as a kid because I know that no matter how much I appreciate a book now, and I can love a book very much, it's never going to be that childhood passion for a book. There's some element, something special about the way they're reading books and experiencing books that's finite.
In so many ways, being a literary agent is an irresistible job to me. Not only does it involve all the things I love - being an advocate for others, problem solving, and going to meetings - yes, that's true, I love meetings, though everyone says it's bizarre! - but most importantly, I love working with people whose writing excites me.
I think that's why I wanted to write about seventh grade. I'd say seventh grade is a time when kids are really exploring a lot and becoming aware of the world around them in a deeper way. And they just have sort of have a wider appreciation of what's happening around them. They are seeing themselves from the outside more than they had before.
I still think about the letter you asked me to write. It nags at me, even though you're gone and there's no one to give it to anymore. Sometimes I work on it in my head, trying to map out the story you asked me to tell, about everything that happened this past fall and winter. It's all still there, like a movie I can watch when I want to. Which is never.
I think the idea that in a riddle there are two answers or two doors and that you have to pick the right one is almost sort of delightful to kids who are making so many choices every day and who often don't know for a while if they've made the right one. It's not as if you make a choice and then *ding* you have some sense of "oh, this is perfect and I'm happy" - it's never that simple.
I think I'm still fed by my childhood experience of reading, even though obviously I'm reading many books now and a lot of them are books for children but I feel like childhood reading is this magic window and there's something that you sort of carry for the rest of your life when a book has really changed you as a kid, or affected you, or even made you recognize something about yourself.
If I'm afraid of someone on the street, I'll turn to him (it's always a boy) and say, "Excuse me, do you happen to know what time it is?" This is my way of saying to the person, "I see you as a friend, and there is no need to hurt me or take my stuff. Also, I don't even have a watch and I am probably not worth mugging." So far, it's worked like gangbusters... And I've discovered that most people I'm afraid of are actually very friendly.
There's a great temptation to throw things in, as you put it, that you think are neat, or that you have a very clear, specific memory of and think you could do a good job writing about. What I find is that it's like a seed you plant. You can try it, and if it will grow and connect with other ideas in the book, and you can see connections that you can actually realize on the page, then you're allowed to leave it in. But if it just kind of lies there and doesn't really add up to anything or there's no chemistry with everything else going on in the book, then you have to take it out.